So it’s fitting that writer Peter Orner was recently working in Marfa as a writer-in-residence for the Lannan Foundation, a literature and arts foundation in Santa Fe, N.M., that offers a residency program here. While Orner is a celebrated novelist and short-story writer — his novel “The Second Coming of Mavala Shikongo” was a 2006 Salon Book Award winner — his new book, “Underground America: Narratives of Undocumented Lives,” marks his departure from fiction. (“Underground America” is the third of the McSweeney’s Publishing “Voice of Witness” books, a series dedicated to documenting social injustice through oral history.) Through 24 narratives, Orner, who edited the book and led a 22-person interviewing team, gives voice to a small handful of the millions who’ve illegally crossed into this country.

We hear about these migrants on the news: We watch pundits discussing immigration, we see videos of walls on the Mexican border, we know that they are here. But what do we know of their daily lives: Why they came to the United States? What they left behind in their home countries? In “Underground America,” Orner and his co-interviewers attempt to answer those questions. The stories are heartbreaking and human. “My only crime was working hard,” says “Diana,” a 44-year-old Peruvian migrant working in post-Katrina New Orleans. Eventually caught by immigration officials who refused her access to a lawyer, she was detained in a prison, wearing shackles and chains, and allowed to shower only once a week. After struggling in poverty in Guatemala, 28-year-old “El Curita” came to the U.S. dreaming of a better life; he worked as a housepainter for an American woman who used his lack of legal papers to force him into domestic slavery.

Rather than discuss “Underground America” over coffee, Orner and I crossed the border into Mexico, an hour away, for lunch. In Presidio, Texas, we drove over the trickling Rio Grande — where five miles of the border wall will soon appear on either side of the crossing — to Ojinaga, Mexico. After a lunch of chicken fajitas, we drove back across the border. On the American side, we silently perched on a concrete bench while border officials searched my car. It was a strangely intimate moment to share with someone I hardly knew.

In the introduction to “Underground America,” you write that there are 15 million undocumented migrants in the U.S. That’s an incredibly large group.

Congress estimates that there are between 12 and 15 million undocumented immigrants in the U.S., but the truth is that it’s at least 20 million, we think. Every city, every little town in Iowa, all the meatpacking in this country, all the fruit picking — it’s all undocumented people.

So many of these stories are unbelievably nightmarish — slave labor, sexual assault, riding in the back of a packed truck without bathroom access for days. Did everyone you interview have these kinds of experiences?

No. But everyone had some connection to the nightmare. To give you an example, one story that didn’t make the book, that of a woman from the Hudson Valley in New York — while we were interviewing her, she got a phone call. Her nephew had tried to cross over in the desert and was missing for five days. No one knew what happened to him. He was scheduled to arrive in Tucson or wherever at a certain date, and then he didn’t show up. So you’ve got a missing nephew who may be dead in the desert, and you’re on the phone in Hudson, N.Y.

So the issues are out there for most people in this situation. You’re hard-pressed to find people who treat you wonderfully. There’s this misnomer that they’re here to steal our jobs and take our money. But the fact of the matter is, I didn’t personally find any success stories.

Was it hard for your subjects to open up? You change their names, but there are a lot of details.

Right. The hardest thing, initially, was to gain people’s trust. “Liso,” the South African woman [who came to the U.S. on a missionary visa and mistakenly trusted the sponsors who promised to extend her status but instead let it lapse and forced her into domestic slavery] — three of us interviewed her as a group. When we knocked on the door, she asked us 10 times if we were from Homeland Security. She asked in the middle of the interview, because she thought, Why are you asking all of these questions if you’re not part of the government? She didn’t trust us. Now she does. We went out, we had a meal, we spent a lot of time with her, and she started to trust us more. But there wasn’t a reason to trust us at first.

The people we finally chose for the book were people who were very invested in having their story told publicly. They wanted to be heard in some way. And it should go without saying that we didn’t pay anyone; it was all volunteer. In some cases, people did not want to talk. But I found, especially when there was an egregious human rights issue involved, people really did want to get that out, because they had no other way to tell that story.

They’re frustrated by the injustice that they’ve already suffered. Like with “Olga” — her daughter, who is also undocumented, is detained and is dying of AIDS. She has been chained to a bed, and the prison isn’t giving her medicine. If you’re “Olga,” of course you want people to know that this is happening.

And these are people who live in the U.S., so they’re accustomed to a society that has a relatively robust freedom of speech. So it’s almost like, as I say in the book, what’s more American than speaking? Ultimately, I think that’s how they felt.

And even though undocumented people do have rights here, they feel like they can’t get help. The women in the book who are sexually assaulted — that’s still against the law, whether they’re legal citizens or not.

Absolutely. But what happens when they ask you about your status? This is a real issue. I mention this in the book — when Mitt Romney, in the debate [against Rudy Giuliani], was scandalized that New York allows you to report a crime without saying your immigration status — I’ve never been more angry at the television in my life. Because these are the very people that we’re talking about in the book. In a lot of cases they’re too afraid to report crime, but some people want to take even that right away.

Were you surprised at the number of stories involving slave labor?

Totally. But at a certain point, I stopped being really surprised because of the nature of where these people stand. They’re vulnerable. You have, in many cases, a desperate population. They’ve got to feed their families. They need this job.

When I edited this book, I kept thinking, What would I do in this situation? I wouldn’t do things a whole lot differently than most of the narrators in the book. Maybe I wouldn’t have come in the first place. But I think in most cases, I probably would have. They’re not here, in most cases, for the wrong reasons.

And they’re very honest about why they came — how they grew up hearing that the U.S. is welcoming, with good doctors, jobs, education for their kids. They have no idea it will be as hard as it is to survive here. And as you say, there’s no such thing as economic asylum in the U.S. You can’t just enter the country because your home country is impoverished. So what should they have done instead?

There is an asylum system that allows you to come in if you’re being persecuted. A lot of people in our book were, in fact, being persecuted. A lot of the people in our book could have made decent asylum cases, but there are no guarantees. And when you’re an asylum case, you’re not allowed to work. So it’s understood that you work illegally if you’re here waiting for your asylum process. So how do you support your family if you are trying to do this?

What I found is that when someone did try to do things by legal means, like “Roberto,” who’d been here 30 years, so he was in a special category of undocumented person — he was allowed to apply to get a green card, and it turned out that since his wife had entered later, and there’d been some mix-up with her dates, they deported her and their kids. And this is a guy who’d been trying to do it the right way. So I think it’s very difficult to do it the right away. People say, Oh, wait in line. But when you’re poor and you’re trying to make your life better — I wouldn’t go so far as to say people were starving, so it wasn’t a completely desperate act. It was a choice. And that to me makes them more human. It’s a human choice that people made, and as people they’re more complicated than desperate masses streaming across the border. But there’s a certain level of desperation, no question.

You told me earlier that you didn’t want these stories to be “lessons.”

Who wants to read a didactic book? I wanted these people to be rounded human beings and not victims. That’s not who they are. They’re complicated. They’ve made certain choices that have made their lives difficult, and our job was to look and see what the consequences of those decisions are. And some of them are not their responsibility, but some of them are. It’s a vulnerable population, but they’re not 100 percent victims at the hands of our society. It’s more complicated than that. It’s a relationship that’s navigated by them and by us, to sometimes very bad and violent effect.

But children didn’t choose it, and they’re in a different situation, like “Estrella” [a 17-year-old high school student who has lived in the U.S. since she was 6 weeks old], who came over on her mother’s back. All of her sisters are American, but Estrella is the one in her family who is most interested in education and getting a good job.

What do you think is the public’s biggest misconception about undocumented workers? Is it more nuanced than the complaint about taking U.S. jobs and using U.S. services?

That’s part of it. Also, a lot of the people in our book are quite conservative, politically and otherwise. They’re more religious in most cases, very respectful of the law.

There is a baseline issue: They’re in this country illegally. But even in that sense, there are differences. There’s “Estrella” versus “Farid,” who came here as a wealthy businessman and overstayed his visa. To us, they’re undocumented. The government may have different categories, and may not lump them [together] in the same way, but the fact is that they’re working and living here without papers.

But the misnomer is that they’re criminals — not just that they’re sponging off of us. I think there’s a perception that there’s a great deal of crime coming out of these communities. That’s preposterous, and only anecdotally can I say that.

Right, it’s like, how much time do you have to commit crime when you’re working 15 hours a day?

And the fact is, if you do commit a crime, you’re exposing yourself. So they lie low. But like any population that lies low, they’re easy to beat up on. And that’s why we’re in the situation we’re in. They’re vulnerable, and that’s why people go after them. They’re trying to feed their families, get their kids in school. They’re like any immigrant population. They’re trying to have the next generation move forward.

One of the interesting aspects of the histories is the number of professional people — people like “Elizabeth” [a Bolivian English teacher who came to the U.S. searching for treatment for her gravely ill daughter], who aren’t impoverished but come over for other reasons, like medical care.

Yes, and we assume that none of these people are college educated, that they’re just peasants. “Dixie” was a school administrator, and she ended up working at Wendy’s and McDonald’s.

They’re thrust into these situations and they have to survive. Dixie is not a tough lady. She didn’t want to work at Wendy’s. She wore high heels to that job. I think she’d say, No, I just needed to survive.

Did your feelings change about the project the longer you worked with these narratives?

To be trusted with people’s stories — I felt very responsible for them. We did the best we could to protect their identity, but they were taking a risk in talking to us.

I came into it not knowing as much as I know now about the issue, but I also think this is an emergency. I didn’t know that then. My small hope is that this book contributes to understanding the complexities of these people’s personal lives and understanding that they’re in crisis. And that something needs to be done to protect people — to protect kids and others from being harmed.

Do you think an administration change could help that?

Hillary Clinton wasn’t good on this issue. Barack Obama has been awfully quiet about it. I think his heart’s in the right place, but I think the pressures of anybody is his position are very grave. And I also think that this is not a population that you need to worry too much about if you’re a politician. You just don’t. So I’m cautiously optimistic.

“We’re constantly looking three or five years ahead, waiting for that moment when you finally achieve what you set out to achieve, and it’s like everything in between is just commuting,” he continued. “Then it arrives, and it’s kind of depleted, so you move on to the next goal.” More nodding, and hands went up to describe moments of glory (the grad school acceptance letter, the coveted job, the relationship you fantasized about for ages) that eventually faded: a lesson in the classic Buddhist teaching of impermanence.

“As usual,” Nichtern announced at the end of the evening, “we’ll continue this conversation at the bar downstairs.”

Dharma in dive bars: As the founder of the Interdependence (ID) Project, an East Village-based Buddhism meets activism nonprofit, Nichtern is used to translating the 2,600-year-old spiritual tradition of Buddhism — sometimes still perceived in the U.S. as a throwback to the cultural exoticism of the ’70s counterculture — to the 21st century.

He’s not the only one. Thirty-six-year-old Noah Levine, author of “Against the Stream: A Buddhist Manual for Spiritual Revolutionaries” and the memoir “Dharma Punx,” which spawned a 1,000-member contemplative community with the same name, is also trying to give the tradition a cultural face-lift.

Nichtern and Levine, both “dharma brats” — a term used for children of the first generation of American Buddhists — are working to inaugurate a more contemporary and secular tradition than has previously been available, making Buddhism less about co-opting Asian cultures and more about the practical benefits of meditation and its teachings of mindfulness and compassion. These days, people aren’t necessarily as interested in the mysterious Asian trappings that attracted spiritual seekers in the ’60s and ’70s. By tossing aside the rituals, chants and bowing that might make Buddhism seem impenetrable or alien, peppering their talks with pop-culture references to explain Buddhist concepts, encouraging political activism, emphasizing the practice of meditation and teaching in a way that Levine describes as “peer based” — “It’s not like, ‘I’m the teacher, so I have all the answers and you don’t have any,’” he says — they’re both attempting to distance Buddhism from its lingering hippie ethos.

They aren’t the only Buddhist teachers under 40, but the casual friends and colleagues are the first to start their own independent communities based on meditation. And while attracting younger practitioners isn’t necessarily a life mission for either Levine or Nichtern, their teaching styles definitely resonate with a younger generation. Between them, they’re reaching people — most of them 35 or under — who might never walk into a traditional Buddhist center.

It might be just what American Buddhism needs. Ever since Buddhism gained a foothold during the late ’60s and early ’70s, when Asian teachers emigrated to America, the American face of the tradition hasn’t really changed. It’s just grown older. Most members of the 230 or so American Buddhist centers are over 48 years old, according to a 2001 Baylor University survey quoted in a recent article in the pan-Buddhist magazine Shambhala Sun. (Numbers are sketchy for “convert” Buddhists, ranging anywhere from 100,000 to 800,000.)

“I’m really interested in getting Buddhism out of the ‘Eastern religion’ section of the bookstore,” says Nichtern, whose book “One City: A Declaration of Interdependence” — which he calls “Buddhist philosophy meets ‘An Inconvenient Truth’ meets a pop culturally interested urban survival guide” — was just released by Wisdom Publications. “Buddhism is about a practice of meditation, so that an individual can develop more mental sanity and awareness of the world around her. And it’s about interdependence — which is saying that nothing on any level of our experience is happening in a vacuum. Which of those two things are either Asian or religious?”

“A lot of people think of meditation in the same stratosphere as psychedelics,” he continues. “It still has somewhat of a tie-dye sheen to it in the collective consciousness. That’s definitely keeping some people away. But the main thing keeping people away is that it’s hard to look at yourself and your place in the world. Meditation practice is hard. And we don’t make it any easier by making it culturally exotic or inaccessible. What people like Noah and I are trying to do is to say, this is not about ‘Free Tibet.’”

“It’s not about feel-good, peace, love and granola,” says Levine. “It’s about an inner revolution.”

When I first learned to meditate five years ago, at 24, it didn’t matter to me that I didn’t see many young practitioners at the Shambhala Meditation Center of New York. I mean, I wasn’t going to become a Buddhist or anything crazy like that. I’d just read a lot about meditation, and it seemed like a new way to deal with my insanely busy mind and lifelong battle with anxiety.

I was surprised I’d even walked into the center in the first place. I liked reading about meditation, but actually go into a center? I assumed there’d be some kind of shared language or way of behaving that would automatically render me a foreigner. Wouldn’t everyone immediately notice I wasn’t a Buddhist? (Plus, Buddhism seemed so lame anyway: I was a diehard atheist and rolled my eyes at people who embraced Asian spirituality because they thought it made them seem deep or cool.) But my then roommate and her boyfriend at the time were both practitioners, and kept suggesting I go. “It’s no big deal,” she would say. “You don’t have to do anything. You just sit on a cushion and breathe.”

She was right: It wasn’t a big deal. Around 100 people were at that Tuesday night dharma talk — half of them raised their hand when the teacher asked who was new — and suddenly my paranoia seemed ridiculous. I didn’t understand why some people bowed at the door, and I certainly didn’t understand the intimidating shrine on the right side of the room, covered with tapestries and photos and bowls and incense. But sitting still for half an hour was something I never thought my restless brain would be able to do, and when the teacher, a middle-aged man, spoke, it just made sense.

I don’t remember what his talk was about, but I kept going back. I’d never heard people talk about the shared experience of humanity like this before — that upsetting, frustrating, traumatic, terrifying things happen to everyone, but we don’t have to freak out about them, and that settling our mind is the first step to dealing with our lives, and ourselves and everyone else. And when other practitioners my age started arriving, it was a relief to have a group of friends who were traveling the same path together, who supported one another. We weren’t doing it alone. (Ethan, whom I met when I first came to the center in New York, is one of these people.)

But we’re a small group, and off and on we wonder what the American Buddhist future will look like. What’s going to happen when our teachers — part of the generation that launched the spiritual tradition in the ’60s and ’70s — grow too old to teach and we don’t yet have a new crop ready to take their place? And while I eventually felt more comfortable with Buddhism — now, the rituals and the chanting in my practice seem necessary, not foreign — what if some people who might connect with the teachings feel too intimidated by the window dressing to walk through the door?

“Buddhism tends to draw people with more life experience,” says Sumi Loundon, 32. “It’s like, How can I find meaning in my life? My friend just died. I’ve been though a terrible divorce.” Loundon, another dharma brat, has edited two anthologies of writings by young American Buddhists, “Blue Jean Buddha: Voices of Young Buddhists” and “The Buddha’s Apprentices: More Voices of Young Buddhists.” “The books came out of my experience of feeling isolated as a young Buddhist,” she says. “I was going in and out of meditation centers — I was often the youngest person there — and it led me to wonder if I’d be the last Buddhist 50 years from now. I mean, who would I date?”

Like Loundon, when Nichtern started formally studying meditation at 18, he was the youngest person in the room by far. “My thought was, the only reason that there aren’t more young people doing this is that something’s not speaking to their everyday cultural experience,” he says. So when he began teaching, he says, “I wanted to present Buddhism in an environment that’s more pop-culturally savvy, where I could talk about Jay-Z and include that in an understanding of the principles of mind and our culture.” And he does refer to Jay-Z, and Mos Def, and iPhones, CrackBerries, Wallace and Gromit cartoons, Williamsburg falafel stands, Paris Hilton and the wisdom to be found in a crowded subway car, in “One City” and in his ID Project talks. Cultural detritus from New York life: not your typical dharma-talk language.

“Just as the Buddha talked about the potter’s wheel, Ethan and Noah are carrying on the tradition of using the culture to make things current and accessible,” says Loundon.

Many senior Buddhist teachers in the U.S. don’t see a pressing need for a younger, hipper teaching style. But Reginald Ray, a Tibetan Buddhist teacher who leads a community called Dharma Ocean, argues that his generation has failed the younger Buddhists.

“Buddhism will never survive in the West until it separates itself from the cultural forms that are specifically Tibetan or Japanese or whatever,” he said. “In the ’70s, we had a whole generation of people who tried to be Tibetans, and the young people now see that not that much happened with an awful lot of those people. We should have a bunch of enlightened teachers, and we don’t. Young people look at that and say, ‘Huh, I don’t think this is what I want to spend my life doing.’ The lazy hippie dharma isn’t going to work anymore.”

The heavily tattooed Levine, the more seasoned of the two young teachers, initially eschewed his parents’ spiritual tradition, precisely because he saw it as lazy. “My political education was from punk rock,” he said. “It was a rebellion against what the early punks saw as the failure of the hippies — this unrealistic peace-and-love attitude and lack of real engagement.”

But at 17, addicted to drugs and alcohol and locked in a juvenile hall cell, he started to meditate. In turn, Levine taught his friends, and then took the groups outside his living room and invited the public, teaching that the Buddhist path is one of radical rebellion against the mainstream consumerist, ego-driven society.

“Noah would talk about issues that were relevant to younger people,” said Josh Korda, one of the two main teachers in the New York Dharma Punx community. “Anger with your boss, sex, alienation, feeling powerless, whatever.”

“Noah is actually very rooted in traditional Buddhism,” says Diana Winston, author of “Wide Awake: A Buddhist Guide for Teens,” who works with Levine on occasion. “But the population that he appeals to is not the typical one you see coming to Buddhist centers.”

True. Walk into many American Buddhist meditation centers, and you’ll see a majority of white, middle-aged faces. That’s not the case with a Dharma Punx gathering. On a Tuesday night meeting last fall, Korda sported a trucker’s cap, long plaid shorts, a bowling shirt and massive Buddhist tattoos. After a 20-minute guided meditation, many in the audience — arty hipster types in their 20s, 30s and early 40s — sprawled casually across the cushions while Korda and his co-teacher, Craig Swogger, gave a classic Buddhist teaching on the origin of suffering (using the word “stress” instead of “suffering,” though, and punctuating their points with a few expletives).

Nichtern’s ID Project gatherings don’t have the punk component of Levine’s groups, but the freewheeling nature of his talks, and the emphasis on social action rather than the reflexive self-help ’70s lingo, reflect the same contemporary sensibility.

“Ethan talks about pop culture and formal Buddhism,” says 22-year-old Stillman Brown, a yearlong ID Project member. “And here I have that sense of community — other young people who are interested in the same thing.”

Levine and Nichtern say they haven’t experienced much resistance to their teaching styles among more senior teachers, but there have been some raised eyebrows. “I’ve heard, ‘[Noah] doesn’t look like a teacher should look! He swears! Oh my God!’” says Jack Kornfield, founder of Spirit Rock Meditation Center in Woodacre, Calif., and a teacher of Levine’s.

And some argue that the tradition and lineage of a rich culture is lost when taken out of a formal meditation hall. “When my generation is history, if all we have is hip Buddhism that’s nonconventional, just people who went through some training, but no years in retreat, then that’s really sad,” says Alan Wallace, founder of the Santa Barbara Institute for Consciousness Studies.

Nichtern counters, “One of the things that Buddhism has historically lacked is a strong tradition for how not to spend 10 years in a monastery — how to really bring these principles into our life and the world.”

And the way to do that, say both Nichtern and Levine, is to strip away the exotic layers and show how meditation and Buddhist principles are relevant to contemporary American life. “Buddhism is a practice,” says Levine. “It’s not a bumper sticker. It’s not about attending the Dalai Lama‘s teachings with 10,000 other people. It’s about practicing generosity in your daily life. It’s getting on your ass and training your own mind on your meditation cushion.”

After two months at Northeastern, the “girl-on-girl” make-out session had become inevitable at parties, but Julie still hadn’t kissed a woman herself. Then she and a female friend showed up at a party without the $5 cover charge, and she suddenly realized that girl-on-girl action could be a form of currency. “I said to the guy, ‘What if we make out? Will you let us in for free?’ He said, ‘Yep, do it.’ I knew it’d be something that [the guys] were into which would get us what we wanted — to save $10.”

Kissing girls started earlier for Alexandra, a 16-year-old high school junior in Bellingham, Wash., a town close to the Canadian border. In ninth grade, she says, at a party where the beer was scarce, two of her friends made out with each other for a beer. “The guys were cheering it on and encouraging it,” she says. “I thought it was cool that [the girls] got all the attention, and the guys obviously liked it. I went up to them and was like, ‘Wow, that was crazy!’ They were like, ‘Oh yeah, you’ve never done that before?’”

She hadn’t — but a year later, she joined the club. She and a friend were drinking at a party, and some guys dared them to kiss … so they did. “It was like, look, I’m the center of attention! Everyone’s looking at me and cheering me on. It felt good being in the spotlight,” she says. Then she adds, “And the kissing itself didn’t really bug me. From then on it became a normal thing to do.”

While same-sex hooking up among teens has been in the news lately — kids who consider themselves questioning and talk about their sexuality as fluid have been splashed across the pages of major magazines and newspapers — Alexandra (who has kissed six girls) and Julie (who has kissed 10), and the countless other young women like them, don’t think of themselves as bisexual, or even “bi-curious.” They’re firmly straight, they say, but they’ll kiss their friends as a performance for guys — either for material gain, like free entry or alcohol, or to advertise that they’re sexually open and adventurous. “A lot of the time, you’re doing it to show off to the guy you like,” says Alexandra. “They like it, so they’re going to like you if you do it.”

These women say it’s no big deal to kiss another woman — especially if alcohol has loosened inhibitions all around. Same-sex behavior is more accepted, particularly on campus, and proving that you’re “cool enough” to kiss another girl without worrying that your peers will question your sexuality is an example of how open our sexual culture has become. But is this staged bisexuality really a testament to a type of hypersexualized girl power — or a statement on how far gals will go to please a generation of guys weaned on online porn? And what does it mean to girls who are actually coming out as queer to see straight girls playing bi for male pleasure?

“When girls talk to me about kissing each other at parties, it’s invariably in the context of boys chanting “Kiss, kiss!” says Sabrina Weill, former editor in chief of Seventeen and author of “The Real Truth About Teens and Sex.” “There’s no formal research that asks girls whether it’s happening more now. However, anecdotally, it does seem to be talked about more.” Precise numbers may not be available, but a well-publicized National Center for Health Statistics study released in September 2005 found that 10.6 percent of girls age 15-19 had had same-sex sexual experiences; the survey did not ask whether the conduct was a result of actual desire, though. In any event, girl-on-girl action seems to be no big deal for high school and college students, who shrug it off as standard party behavior. Alexandra says she sees it at “75 to 85 percent” of the parties she attends. Jay, a 17-year-old senior at a Manhattan high school, says he sees it at “every other party.” Alexandra’s friend Mikey, 19, also in Bellingham, says such action has been a party staple since he was 14. “Just about every party I go to or have, I see girls making out with each other,” he says.

“It’s definitely a good, well-worn, tried-and-true route to hooking up with a guy that you want,” Julie says. “It’s not giving him a lap dance and stripping on a pole for him, but it’s showing him that you can be open, and if that’s what he likes, that’s what you’ll do. Which makes him think you’re better to sleep with than the 100 other girls in the room with you.”

“It gives you confidence,” says Nina, a 20-year-old friend and classmate of Julie’s who has kissed five of her friends, including Julie, most more than once. “It makes you feel more attractive — you’re turning on a guy, and he thinks it’s cool.”

“I think it’s empowering to these girls,” Jay says. “Immediately after, guys come up and are like, Do you want to do that with me? It’s a quick fix to get a guy’s attention.”

But if young women who hook up with other young women aren’t expressing their own desires — Am I attracted to females? Would I like kissing a female? Would I want to do more? — and are only simulating desire to market themselves to guys, how empowering can it be?

“By nature, something that is empowering makes girls feel strong,” says Weill. “Girls don’t express to me that they feel strong after [hooking up with other girls]. ‘Empowering’ is scoring the lead in a school play or winning a spelling bee. Being sexually manipulative is not empowering.”

“It must’ve been around the time of ‘American Pie 2,’” Nina, from Danbury, Conn., says when I ask her when she noticed the girl-on-girl trend. (In the bawdy 2001 sequel to the 1999 teen comedy “American Pie,” two girls agree to make out if two male characters will, too.) “Guys suddenly seemed obsessed with lesbians. [Two girls together] was the hottest thing ever. And then that poster came out with those two girls on a bed in their underwear kissing — everybody had that.” (She’s talking about “Kiss,” the 2001 Tanya Chalkin poster that became a college dorm décor staple for guys. Alexandra says two of her ex-boyfriends had one as well.)

In fact, most of the 12 people interviewed for this article cited the “American Pie” movies and the wildly successful “Girls Gone Wild” DVD franchise — in which a film crew stations itself at a popular collegiate drinking spot (Spring Break destinations, Mardi Gras et al.) and films drunken females getting it on — as driving the trend. “I definitely got the idea from ‘Girls Gone Wild,’” says Alexandra’s friend Mikey, who first saw two girls making out at a party when he dared them to. When he was a freshman in high school in Washington, he says, he tried it. “I had these two [female] friends, and we were all drinking. I was like, Hey, why don’t you make out? And then they started to! I was like, oh, damn, they’re awesome. I don’t know why I thought it would be OK to ask them. We were just testing them — but then they did it. I told them that made them 10 times cooler.”

The ubiquity of porn — whether it’s the softcore “Girls Gone Wild” franchise or whatever you can find with a few mouse clicks — seems to be a factor in the increase of girls hooking up to impress guys, says Weill. Pornography “changes their perception of what is mainstream sexual behavior,” she says. “They see a lot of things that they then expect to see echoed in their world. When I first started [editing teen magazines] in the early ’90s, I received letters asking how sex works — mechanical questions. Now those questions are more, Should I shave off all my [pubic] hair? When you see a bunch of girls asking a question like that, you have to assume that they’re getting that image from somewhere — or their boyfriends are, and are communicating to them that that’s their expectation.”

Pamela Paul, author of “Pornified: How Pornography Is Transforming Our Lives, Our Relationships, and Our Families,” agrees. Girls “aren’t kissing other girls because they want to. They’re doing it because they want to appeal to boys their age. And for boys their age who’ve developed sexually alongside Internet porn, their sexual cues are affected by the norms and standards of porn. And that’s girl-on-girl action.”

Another factor in the increase of staged bisexuality is the increase in acceptance of same-sex relationships and behavior in general, says Weill. “There’s less of a stigma associated with same-sex fooling around,” she says. “We see gay characters on TV, bi-curious characters on TV, so it just doesn’t seem as big of a taboo as it was 10 years ago.”

But for girls who get it on with other girls as a performance for guys, questioning their sexuality doesn’t seem to enter into the picture. In fact, they feel free to hook up with other girls precisely because it’s understood — by the girls involved and their spectators — that all parties are straight. “Girls kissing each other didn’t start until my senior year of high school,” Nina says. “If it had started earlier, it would’ve been seen as gay, and we would’ve been afraid that guys would think, Oh my God, they’re lesbians.”

Deborah Tolman, director of San Francisco State University’s Center for Research on Gender and Sexuality and the author of “Dilemmas of Desire: Teenage Girls Talk about Sexuality,” says the term for the “I’m straight but I’ll kiss girls” mentality is “heteroflexible.” “It’s engaging in same-sex behavior that ultimately is a way to confirm your heterosexuality,” she says. It’s “I went there, I tried it, I’m really straight. ‘Bi-curious’ is a more authentic concept: I think I may enjoy being sexual with a girl.” In the case of females who get it on solely for male enjoyment, it’s not at all about experimenting with females, Tolman says. “The motivations aren’t about your own desires, they’re about getting guys excited and looking hot. It’s ironic because they’re engaging in sexual behavior, which is supposed to look like it’s about sexual desire. The crucial part of that is that they make sure no one thinks they’re actually lesbians.”

Since she hasn’t gone any further than kissing, Alexandra says, her female hookups “aren’t experimenting. It doesn’t get that sexual. There’s a line that you don’t usually cross.” The general consensus among straight girls who make out with other girls seems to be that kissing is fine, but there are two caveats: You can’t go further than that, and you have to be watched — by males.

“The impulse [to go further than kissing] is there, and some girls do it, but respectable girls who kiss girls don’t,” says Julie. “Taking that step to the boobs isn’t a big deal in the guy-girl world, but in the girl-girl world it’s a huge leap. It’s taking it above and beyond. It’s like, now she’s a lesbian, or she’s a huge slut.” What about women dancing with each other? “Touching them without kissing, like dirty dancing, is OK,” Julie says. “But if you kiss them while doing that, it’s an exponential leap from what was originally intended.”

Females who perform for males say they’re not at all turned on by the hookup, except for the reaction they know they’re eliciting: None of the girls I interviewed said they’d repeatedly kissed girls because they enjoyed it or because they found it arousing. “If I knew a girl was a lesbian, I wouldn’t make out with her, because I’d think that would be weird,” Nina says. “When I’m making out with my friends I know we’re doing it in a joking way, like, ‘Ha, ha, we’re drunk and we’re going to do this to tease the guys.’ I’ve never done it without a guy watching me. That would be weird, too, because the whole reason we’re doing it is to screw with the guys. We wouldn’t do it if they weren’t there. I don’t just go and make out with girls because I think it’s fun.”

That kind of reasoning disturbs Tolman: “It’s an insult to women who actually want to be with other women,” she says. Ashley, a 14-year-old lesbian who attends a small public school in Harlem, agrees. She first saw two straight girls making out at a party last summer, she says, and it was clear they were doing it as a means to hook up with the boys who were watching. “I don’t think it’s right, because it sends a message that being a lesbian is a joke — that being with women is for male pleasure,” she says. “And then when someone asks the girls if they are lesbians, and they say, ‘Oh, no, of course not!’ it’s like they’re saying that actually being a lesbian is unnatural and disgusting.” Mandy, a 23-year-old lesbian in a small town in mid-Iowa, says that as one of the only out women in her area, the girl-on-girl trend among straight women puts her in an awkward position. “I don’t go to straight bars anymore because my guy friends expect me to make out with their girlfriends,” she says. “It drives me nuts — it’s like they’re putting on a show and they expect me to join them. A lot of girls around here will say they’re bi, but if the only time you make out with girls is when guys are watching, you’re not really bi.”

“I’ve heard from some straight girls that they do it because it’s fun,” says Rachel Popkin, a 19-year-old lesbian in Seattle. “But if women feel pressured to do anything they wouldn’t normally do just to please guys — that’s exploitative.”

So does it work? If straight girls who make out with each other really aren’t doing it for their own pleasure, but to please guys, are the guys, well, pleased?

Mikey, the 19-year-old in Washington state who has successfully persuaded six young women to make out for him and bribed 10 others, says he’d “definitely” be more interested in hooking up with a woman after seeing her make out with another woman. Jay, the Manhattan high school senior, disagrees. “You can’t help yourself finding it sexually attractive, but it’s not a girl that I’d want to date,” he says. “I don’t like that a girl would be so desperate to get a guy’s attention.” When he sees gals making out to impress guys, he says, “it seems like they’re overly sexual and far too eager to please. The chase is all the fun. If they’re just throwing themselves at you, it’s boring.”

Emily, 17, another friend of Alexandra’s and Mikey’s in Washington, says she has kissed a girl once — because she wanted to — and says that she feels as if she’d be disrespecting herself if she acquiesced to a guy’s joking demands for girl-on-girl action. “I think guys get the wrong impression of you if you do that,” she says. “If a guy isn’t impressed by me, it’s pointless to try to get his attention that way. And I’m not the type of girl that goes out of my way to get a guy’s attention. It’s like, if he notices me, that’s tight, but if he doesn’t, that’s OK.”

Long-term dating isn’t the goal of the straight-girl make-out, says Julie; hooking up with the guy watching is. But she concedes that many girls attempt to hook up with a guy in the hopes that he’ll become a boyfriend. “One of girls’ fantasies of hooking up with a guy you like is that they’ll want to date you, but that’s a tried-and-failed situation. If you go home with a guy [right away], you have a minimal chance of him taking you seriously.”

But if these young women are not actually into kissing their girlfriends, why do they feel they need to do it to prove how sexual they are? Why can’t a girl attract a boy by being her intelligent, hot self?

“A lot of girls who do want long-term boyfriends will still settle for the hookup because it gives them that temporary feeling of being taken care of and being close to someone,” Julie says. “It’s sad to see that this is what it’s come to — that guys will raise the bar and girls will scramble to meet it. Women just want to know what they have to do to get these guys to fall in love with them. And if guys will take them home after kissing a girl, then that’s what they’re going to do, because it’s better than going home alone.” She pauses. “Now that I’m saying it out loud, I’m like, Huh — that’s a sad way of going about it.”

Mom and I both laughed, but it wasn’t a joke, really; I felt like I needed these books around. Growing up, I relied on the books I read — more than my family, more than friends — to teach me about people, relationships, life in general. And I relied on their characters to remind me that, even though I perpetually felt like an outsider, I wasn’t completely alone — whatever I was feeling, someone had felt that way before.

This is what reading can do for you, at 8, at 11, at 14, at 18: It promises you that other people are out there, and that there’s a life beyond your school and your neighborhood. It promises you that you’re normal (or, at least, that you’re not as weird as you think you are), and that, even if they exist only on the page, people have dealt with the issues you might be battling at home or school: neglectful parents, alcoholism, bullies, general ennui, whatever. Books allow you to fantasize and make sense of a world beyond your own.

In her new book, “Welcome to the Lizard Motel,” a parenting memoir about childhood and middle school reading and imagination, writer Barbara Feinberg seems to have forgotten this. “Welcome to the Lizard Motel” takes place during the first six months of the 1999 school year and revolves around Feinberg’s two children: her 12-year-old son Alex, a seventh grader, and his younger sister, 7-year-old second-grader Claire. An avid writer and reader who runs an after-school creative arts program for kids in Westchester County, N.Y. (the title of the book is taken from a story by one of her students), Feinberg is dismayed that Alex can’t stand to read the books he’s been assigned in language arts class, books touted as quality literature for middle schoolers. He loves reading fantasy, and he devours any book about the comedian Mel Brooks — so why does he hate to read for school?

To find out, Feinberg decides to read Alex’s class reading herself — and is surprised when she agrees with her son. The books he’s been assigned — like Sharon Creech’s novel “Walk Two Moons” and Karen Hesse’s “Phoenix Rising” — are serious novels whose protagonists grapple with dire problems and experience intense hardships — death, abuse and abandonment. They’re known as “problem novels,” a catchall term for hyperrealistic children’s and young adult (Y.A.) novels with issue-laden plots. Problem novels, as Feinberg learns, are often the recipient of the American Library Association’s annual Newbery Award — the highest honor given to children’s chapter books.

But problem novels aren’t authentic, Feinberg argues throughout “Welcome to the Lizard Motel:” most of the narrators’ voices sound like adults, not kids or teens, and the constant melodrama weighs too heavily on the readers. They’re not “cozy,” like Feinberg’s favorite book growing up, Betty Smith’s 1943 classic “A Tree Grows In Brooklyn.” “The ethos of many of these books, if there is one,” she writes, “seems not to be ‘Love Makes the World Go Round’ or ‘There’s No Place Like Home.’ Instead ‘Only Survive’ or ‘At Least You Have Yourself (since you can’t rely on anyone else)’ is more to the point.”

Alex’s required reading is seen almost as a household chore. “Just do it,” Feinberg tells him. “I meant it in the same way someone might have once said, ‘Just drink your milk,’ or ‘Just take your cod liver oil,’ or, I realized suddenly, the way someone might believe that a child ought to endure a beating, because even though it hurt, it was ‘a good beating,’ would make him better, build character. Was this kind of reading akin to a ‘good beating’?”

A writer and a mother likening children’s lit to “a good beating”? It seems overly dramatic, but to children and Y.A. literature experts, Feinberg’s reaction isn’t unusual. Librarians and teachers are used to parents’ complaints about problem novels by now — that they’re too traumatic, too adult, too provocative, etc. After all, most of the books challenged and banned in school libraries are problem novels, says Michael Cart, a professor of Y.A. literature at UCLA’s school of education and the author of “From Romance to Realism: 50 Years of Growth and Change in Young Adult Literature.” “Any book that’s tried to push the envelope of what material can be dealt with in a young adult novel — like Judy Blume’s “Forever,” which contains the first explicit sex scene in Y.A. literature — has routinely been challenged,” he says.

“Welcome to Lizard Motel” has received a handful of positive reviews. Those who aren’t among Feinberg’s fans, though, are children’s and Y.A. literature experts — who were especially miffed by an Op-Ed she wrote in The New York Times in July, in which she slammed the required reading lists that many schools hand out to kids before summer begins. “I can’t imagine how I would have fared if I had been asked … to read the hard-hitting books on current summer reading lists,” she wrote. “They depict children who must ‘come to terms,’ ‘cope with,’ and ‘work through’ harsh realities … But should helping children face adversity be the main goal of children’s literature?” After the piece ran, a popular teen reading listserv (run by YALSA, the Young Adults Library Services Association) was inundated with anti-Feinberg rants.

“There weren’t too many people rushing to defend Feinberg,” says listserv member Cart. “And once we realized she’d written a book, too, people started reading it and posting synopses and observations about what they saw as its deficiencies. It was the same old thing — like, here they come again, attacking one small aspect of a field that they don’t understand and don’t know very much about.”

Y.A. literature librarians take issue with Feinberg for not differentiating between children’s lit — technically for children up to 12 — and books written for teens. “That’s probably an apt criticism,” Feinberg admits, “But the books trickle down — it’s a general erosion in our culture of the distinction between children and adolescents.” Another complaint librarians have about “Welcome to Lizard Motel” is that problem novels are treated as the whole of Y.A. lit. The incredibly popular books that kids and teens read for pleasure — the fantasy novels (Brian Jacques’s “Redwall” series; 19-year-old author Christopher Paolini’s “Eragaon”) and teen chick lit books (Cecily von Ziegesar’s wildly successful “Gossip Girls” series) that have made it onto New York Times bestseller lists — are never mentioned.

But what gets Y.A. literature experts most up in arms, they say, is that Feinberg sees these serious books only as a heavy burden for kids to carry. She doesn’t see the other side — that reading books about someone else’s problems can often help them vicariously work out their own. Some books might not be a good fit for a particular child or teenager, sure, but realistic books are good for kids, they say. “Problem” novels aren’t, well, problems.

“Issues explored in these novels should be explored, and fiction is a safe way for teens to experience them,” says Carlie Webber, a Y.A. librarian in Kennelon, N.J. “It’s a way for readers to learn about different aspects of life.”

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Compared to adult fiction, children’s and Y.A. literature has always been relegated to second class: When was the last time you heard about a great Y.A. writer or a great teen novel? (J.K. Rowling and, more recently, Lemony Snicket, are, of course, exceptions.)

Most adults just aren’t aware of these books. If you grew up during or after the late 1960s, when contemporary children’s and Y.A. lit were born, you might have read a few Y.A. novels now considered classics, like Paul Zindel’s “The Pigman,” (1968) or S.E. Hinton’s “The Outsiders” (1967) — but they were most likely forgotten once you entered high school. And if you’re the parent of a middle schooler or teenager, you probably don’t spend time reading the books your kids bring home, as a recent Harper’s article about the history of Y.A. lit (which called the genre a “secret garden”) pointed out.

But there’s a whole world devoted to books for and about kids and teens, made up of librarians and teachers, writers and academics, and the journals, newsletters and countless Web sites where they discuss it. Pairing the right book with the right child is part of their job; if it works, it can be a powerful match. If a child is having trouble at home or school, a book can be incredibly therapeutic in helping her come to grips with the problem.

This idea of librarians or teachers offering a kind of therapy through reading is a twist on “bibliotherapy,” in which books and reading are used to help solve emotional or interpersonal problems. The term “bibliotherapy” was first used in 1916, but the idea didn’t become popularized among psychologists until the 1970s. And unlike art, music or play therapy, bibliotherapy still hasn’t fully entered the mainstream. (A Lexis search brought up only a handful of psychological articles and studies on bibliotherapy over the past few decades). Bibliotherapy has yet to stand up as a modality on its own; it’s more likely to be mentioned as a supplement to other forms of therapy. That makes sense: Children aren’t able to verbally articulate their thoughts, feelings and experiences as well as adults, so a book that they feel connected to — whether they’re experiencing something similar, know someone who is, or just relate to the thoughts of a character — can be a way to work out, feel or express their emotions.

“Most kids aren’t just going to come out and tell us what’s wrong,” says child therapist and controversial Y.A. author Chris Crutcher, whose books have been banned in schools. “It’s scary; they’re not sure how they feel; they don’t know who they are. But if they can relate to that character, then they get to watch that character and see what the character does about some problem. When they read that some kid in a novel feels the same way they feel, all of a sudden they’re less alone.”

And books provide insulation, says Crutcher — a way for kids to relate to their own experiences without running the emotional risk of actually talking about those experiences. A kid who’s struggling with a violent or demanding parent, for instance, might find comfort in Crutcher’s “Staying Fat for Sarah Byrnes,” in which a teen girl’s father repeatedly abuses her: “The reader can be mad at Sarah’s father,” says Crutcher, “but he’s afraid to be mad at his own father — that might cost him too much.”

Feinberg says she isn’t opposed to problem novels as a whole: she’s just opposed to those that aren’t “emotionally satisfying” to kids — the ones that don’t seem to teach a lesson other than that Life Is Hard. This caveat doesn’t come through in “Welcome to Lizard Motel.” She takes Katherine Paterson’s 1977 “Bridge to Terabithia” to task for killing off one of the characters, and repeatedly criticizes Sharon Creech’s “Walk Two Moons” for what she considers Creech’s “hasty resolution” of the protagonist’s mother’s death. She spends a lot of time in her local library, reading kids’ and Y.A. books, and in the process, starts an ongoing dialogue about Y.A. literature with the children’s librarian: “‘When we were kids, didn’t we used to read books that were less … catastrophic?’” she asks. (“These realistic sad books are very popular,” the librarian answers. “Teachers love them.”)

But these books reflect life, say Y.A. lit experts, and kids and teenagers today are dealing with some harsh realities that shouldn’t be glossed over. “Fine if you like a happily-ever-after book — there’s nothing wrong with that,” says Crutcher. “But don’t expect your life to be. You’re going to be disappointed.”

Feinberg’s own teen years certainly weren’t idyllic — she was a runaway who grew up with an alcoholic father — so it’s surprising that she resists the possible therapeutic values of problem novels for kids and teenagers. She originally addressed the concept of bibliotherapy in “Welcome to Lizard Motel,” Feinberg says, but cut it when she decided it interrupted the flow and structure of the book. “What I was complaining about in ‘Welcome to Lizard Motel’ — maybe I didn’t do it articulately enough — were certain kinds of books that I felt were contrived and not emotionally satisfying for children,” she says. “Books like ‘Walk Two Moons’ hit all these politically correct notes — they talk about suicide, depression. But to me those books added up to a big fat nothing.” Because, she says, they don’t feel like they’re coming from the voice of a child: They feel like an adult attempting to write like a child.

Webber, the teen librarian in New Jersey, disagrees. Kids and teens “don’t want to be lied to,” she says. “If they felt those books were inauthentic, they wouldn’t read them. It’s the same way that they know which teachers love their jobs and which are biding their time until retirement.”

Although she repeatedly mentions “Walk Two Moons,” Feinberg also takes on Paterson’s “Bridge to Terabithia” — a children’s lit classic that’s often taught in the fifth grade. It’s the story of Jesse, a neglected farm boy in Virginia, who strikes up a friendship with the new girl, Leslie, next door. Together, they create an imaginary kingdom, Terabithia, in the woods behind their houses — until Jesse’s friend Leslie dies in an accident. Feinberg was a fan of the book until the end: “I think of the author, Katherine Paterson, for the first time,” she writes. “Why in the world did you kill off your character? To make a point? I berate her: You didn’t set the death up right. You didn’t prepare us.”

Paterson says she’d be more concerned about Feinberg’s book “if I hadn’t received hundreds and hundreds of letters from people who were deeply comforted by ‘Bridge to Terabithia.’ “Books like ‘Bridge to Terabithia’ give children a rehearsal for the things that they’re going to meet in life, inevitably,” she says. “We cannot protect our children from sorrow and pain.” Paterson wrote the book, she says, because two of her four children lost close friends — one died in her sleep; another was hit by lightning — before they were 8.

Novelist Crutcher also uses his personal experience as a therapist to inform his books; many of his characters endure intense physical, emotional and sexual abuse. “I’ve never written a story that wasn’t based in truth in some way,” he says. “One in three girls, and one in five boys have been sexually abused — and that doesn’t count the kids who have been beaten or emotionally abused. Look out over a class of 30 kids and just do the math. And for those lucky kids whose lives have been relatively sheltered — and those kids have troubles too — they’re sitting among those kids. It does not make sense to me to not try to tell those truths as best as we can as storytellers and let kids take a look at them.” (It should be noted that statistics about the percentage of children who have been sexually abused are highly controversial.)

“Librarians aren’t psychologists,” says Stephanie Reynolds, a library science Ph.D. candidate in Denton, Texas, who is writing a dissertation on bibliotherapy and teen novels. “But at the same time, you never know when that one shy child who maybe has an abuse or neglect problem at home — if you give that child the one book that might give her the guts, the power and the information she might need, it might save her life.”

That might sound far-fetched, but Crutcher says it isn’t: He tells a story about a 17-year-old girl who approached him after a book talk he gave in Texas in 1990. “I had just written ‘Chinese Handcuffs’ — a really tough story about a girl who’s been molested all her life,” he says. “The girl walked up and said, ‘I just wanted you to know that I read this story and I thought you knew me.’” It was the first time she’d talked about her sexual abuse, and she wasn’t sure if she should tell anyone else, says Crutcher. He suggested she confide in the person who gave her the book — her English teacher. A few weeks later, he heard from both of them: They were seeking therapy for the girl. “Without that connection that she made — and it doesn’t have to be to my book — she might go another five or 10 years thinking she’s the only girl who has to live through that,” he says. “That makes my book a hell of a lot better than it ever had a right to be.”

But it’s not for her book: Instead, the attention on Vona has focused on her relationship with her ex-boyfriend and former agent, 48-year-old Doug Dechert. Two years ago, at a party in New York, Vona’s aunt introduced her to Dechert, a staple at media parties and a consistent source for New York gossip columns. After hearing about the manuscript that would become “Bad Girl,” Dechert offered to help Vona publish it. He introduced her to novelist Jay McInerney, who would connect Vona to her editor and publisher, Web Stone at Rugged Land Books. Dechert and Vona dated for a year, but the relationship ended badly in May — both Dechert and Vona blame each other — and Vona found herself the center of a New York media maelstrom. “Page Six,” the New York Post’s powerful gossip column, ran an item about Vona and Dechert’s breakup — an item unsympathetic to Dechert — and in retaliation, he wrote a screed about Vona that he posted on his Web site and which was quickly picked up by Manhattan media blogs.

Dechert’s piece about Vona, “Creation of a Bad Girl,” claims, among other things, that Vona took advantage of Dechert to get her book published and dropped him when he was no longer of use to her. She didn’t even write the book — she dictated it to her mother, Dechert says; her editors had to completely overhaul the manuscript to make it publishable. As proof of her lack of writing skills, Dechert includes an unintelligible passage on his Web site that he attributes to Vona’s “fractured prose.” Oh — and he also goes into great detail about her body and their sex life (“She had big hips and short piano legs supported by heavy calves like overstuffed sausages, but she was mine and I wanted her”), and claims she had an abortion after getting pregnant by him.

How did a teen troublemaker from suburban Connecticut end up here? Five years ago, Vona, then only 15, spent a year at a “lockdown facility” for troubled teens in Tennessee called Peninsula Village, participating in daily intensive group therapy with the drug addicts, prostitutes — even barely teenage child molesters — who made up her “Group.” The patients were forced to do push-ups for infractions as small as dropping a food tray, and weren’t allowed to watch TV or movies, read books, wear clothes from home — or even talk to one another. (After a few months there, Vona is finally allowed some privacy from the staff and starts to amuse herself by creating shadow puppets against the wall with her hands.)

She went to Peninsula Village against her will, of course: Her father, a cardiologist, said he was sending her to “summer camp.” (Vona’s mother, who divorced her father when Vona was young, doesn’t come up much in the book.) Throughout “Bad Girl,” Vona reminds us that she didn’t need to be locked up: She wasn’t a prostitute or a self-mutilator, after all. She was just bad. She snuck out constantly; she had a stealing problem; she lied; she smoked pot; she dated drug dealers. But after spending a year in lockdown, she writes, she realized the source of her kleptomania, anger and aggression — her neglectful, abusive and overly permissive parents — and learned how to deal with her anger without lashing out.

“Bad Girl” is a short, choppy book written in a style so simple that it does, actually, read as if it’s been dictated, although Vona denies that claim. And the Vona that we’re introduced to through her narrative — the girl who spends most of the memoir wondering why she’s there, since she’s not as “bad” as the other girls — is different from the Vona we see through the “patient’s notes” that she obtained from the Village during the book’s editing process and includes throughout the book. (“Patient seems to act confused … it is unclear at this time what is an act and what the patient just does not understand.”) The therapists constantly refer to Vona as irresponsible, possibly dangerous, and generally just spacey.

While charming and warm when I met her last week in Times Square, where I spent over two hours with her at the Millennium Hotel’s restaurant, I also saw a bit of what her doctors meant.

Do you feel like the recent media attention about you hasn’t been focused enough on the book itself?

Of course, especially because of my agent. The piece that [Dechert] wrote was very disgusting and unnecessary and untrue and pulled out of context. The book is a positive story. People are focusing on the fact that I royally fucked up with a boyfriend.

Let’s talk about how you wrote the book. What happened after you left the lockdown facility?

I wrote it. I spent two years in high school writing it. Oh, another thing he said is that I dictated it.

Did you?

No. My publisher thought it would be cool to say I dictated it because I’m dyslexic. When I came to him I had a full manuscript. [After we were done editing] he gave me the manuscript and I flipped through the pages. He’d written an author’s note saying I dictated the book. It doesn’t say that now; I rewrote it. It said, “I can hardly read my book.” I was, like, what the fuck? [The publisher] said, “Well, Abby, people are confused because you’re dyslexic. I didn’t want to say that you were bad at spelling or that your grammar isn’t too hot, so I just said you dictated it.”

I actually spent a lot of work on it and for someone to take that away from me was fucking nerve-racking, but I didn’t really want to come out and say my publisher is an asshole.

So tell me about the process of writing it.

I came out of the Village and a month or two after, I started writing it freehand. It was kind of like a diary. Then I showed it to my mom and she said that it was really good, and she liked it. It took me two years. I wasn’t that dedicated to it; it was like once in a while I’d write it. And I wrote some of it in my creative writing class [in high school].

The old title was “Shallow Waters Rising,” which I thought was a little less tacky than “Bad Girl.” I don’t like the title “Bad Girl.” The publisher titled it. I was like, what a cliché, you bastard.

What made you think it would be a good story?

It’s also a positive, self-help story. The way I was before I left for the Village — I was a complete nut. I was a narcissistic girl. I wasn’t looking at the whole picture. When I was writing the book, I had to keep in mind how my mind was at the time — I was completely self-absorbed and playing the victim. It was always someone else’s fault.

You weren’t allowed to read or write in the lockdown, but were you thinking about writing a book about your experience while you were there?

I was actually thinking, This would make a good TV show. I’m working on a script for a TV show now. I have a new agent who wants to pitch it. It’d be like “ER” meets “Jerry Springer.” You’d have the same staff members, but you’d get a new flow of kids and a new flow of issues. But it couldn’t be a reality show; too many legal issues.

Being at the Village was so hard, though — I’m surprised you started writing it immediately after your release. It seems like your instinct, as someone in an intense teen addiction/behavior recovery program, would be to look toward the future instead of wanting to relive it.

It was hard to forget. It was such a big part of my life, and it was traumatic. I think I thought about it more when I was coming out. Life [at the Village] and normal life are so different. Once I finished the book it felt like I was over with the whole thing; it was behind me. But I wanted to write about it.

Was your family supportive during the writing of the book?

My dad didn’t like it. He referred to it as “pie in the sky.” He just never imagined that I could get the book published.

My mom was [supportive] at first, but now she’s really upset because my publisher made me add her into the book. I was purposefully very vague in the book, because that was a really hard time in her life. After I got out of the Village, I spent a summer with my dad and then went to live with my mom.

The Village didn’t want you to live with your mother, because they felt she didn’t discipline enough for stealing and lying.

No, she never disciplined me. She thought it was kind of amusing, until it got out of hand. But she’s changed a lot and got a lot better.

At the end of your stay you were allowed to go home to see your father, but the Village was extremely strict about how you could do it. Your father was supposed to be with you at all times, but he left you alone for most of the day, and you ended up sneaking out to party with your ex-boyfriend.

When I came back from the Village I realized that my dad is very … distant. And you can tell it when I came home; he was off doing God knows what for the day. That really showed that he wasn’t exactly there.

How did you meet Dechert, who ended up being your agent and boyfriend?

My aunt introduced me to him. I was visiting her. I met him a year before we dated. I met him and he called me about my book. He said, Yeah, I’m willing to help you. And the next thing I know, he invited me to parties in New York. He was cool, just like a friend. I didn’t imagine him hitting on me because I was so much younger. I felt protected.

What did you think of him when you met?

He was like no one I’d ever met. My radar is all fucked up with men. I’m trying to reorganize it. He’d call me and say, “I have a great party to go to, you should come down and bring your friends.” I thought he was a friend. They were interesting parties for a Connecticut suburban girl.

A New York magazine article said that he’d attended a party instead of accompanying you to get an abortion, because you’d gotten pregnant by him. Is that true?

Oh God, I don’t know if I can answer these questions … but why not, it’s out there, right? He made me look like a whore, calling me a “receptacle” for his “sperm” on his Web site. In reality, I lost my virginity to him. It was the first relationship I ever had. I’m telling the truth. I’m not lying. People from home were like, what the fuck, why are you dating this older guy? And I think I’m a little fucked up when it comes to men. I think I didn’t feel secure around boys my own age. I think I wanted someone to guide me. And Doug did guide me. My parents never guided me. There was something comforting about that.

A waiter walks by, and Vona, eyeing the buffet table in the middle of the restaurant, asks if we can order brunch. The buffet is for a private party, the waiter says. “There’s no extra stuff?” Vona asks, and then turns back to me.

You know … they wouldn’t know that we’re not part of that party …

Um, but wouldn’t that be stealing? Aren’t you supposed to be avoiding that?

It just looks so good! I’m sure they have extra … I’m just kidding.

Well, speaking of the kleptomania — have you stolen anything since leaving the Village?

I don’t steal anymore. There was a time when I walked away with more goodie bags at a party than I should have.

I don’t think that counts. What about sobriety — have you drank or done any drugs?

I haven’t had anything to drink or smoke since I left. You can test my hair.

How were the things you dealt with in therapy — addiction, kleptomania, anger, self-loathing — affected by your relationship?

Doug was a big relapse. I relapsed emotionally.

In the book you’re dealing with so much drama, and now that life is supposed to be less intense, you’re wrapped up in this gossip and media story …

I don’t know if it’s me or who I’m attracted to. I think I’m just attracted to situations where I know I’m going to get fucked.

Are you still in therapy now?

I should be. I’m trying to get my shit together by attracting people who are more stable. But normal people are pretty boring.

It took me a while to really understand why I was so dependent on Doug. Partially because he was condescending to me and made me feel like I needed him, when I didn’t.

When was the last time you talked to him?

Right before he put his article on the Internet. He had e-mailed it around. I called him up and said, “You realize you’re not hurting me as much as you’re hurting yourself, don’t you?” And he said, “Well, you called me an asshole in an interview.” And I said, “Ok, you are an asshole.”

Do you feel hurt or upset about this? Because you keep making jokes and laughing about it …

It’s actually depressing. I’ve been through a lot of trauma in my life and you have to joke about trauma, or else it will consume you. But it’s very painful that he wrote that. I haven’t read the whole thing. I can’t read it. It’s disgusting. I couldn’t read the New York magazine story either. She also portrayed me as using him, but that’s what he wants. I just hoped no one read it. I have lawyers who want to sue him.

So you’re thinking about suing him.

I’ll have to. I don’t know what else to do. I mean, I’m hurt too. A lot of what he said is factual — I mean, I did go to parties with him — but it was the angle he took. I’m fucked up, and I admit I’m fucked up, but I’m not a social climber or a slut.

In his screed against you, as part of his evidence that you didn’t write the book, he says you asked him to do your homework for you.

Yeah, I did ask him to write a paper for me. I was pressed for time. I was going to school and he was like, I’m the writer. I’m the one who’s good with spelling and grammar. But I’m more of a storyteller than a writer, I think.

Are you at all glad you were sent to the Village? Do you think your parents were right to do it?

They had good intentions, and they wanted to help, but I was in a position where the Village wasn’t absolutely necessary. But I’m grateful to my parents, because I didn’t really learn what I needed to learn from them. And I learned a lot from the experience — how to handle bad emotions. The most valuable lesson I learned was that people are flawed. They’re not all bad or all good. And for the most part, if someone’s acting up, it’s usually because they’re hurt. Scarred people lash out in ways that are hurtful to others.

Considering all that’s happened since you published the book, are you glad it’s out there, or do you wish you’d never written it?

Sometimes. I just want [Dechert] to disappear. I feel like I’m in a horror movie and he’s Chucky or something. Chucky always returns. You think you keep killing him, but he keeps coming back.

If I hadn’t dealt with the lockdown facility I don’t think I’d be able to deal with this. But everything seems like a breeze compared to being at the Village and eating this nasty Southern food. Even my shower time was only two minutes long. It made me not take everything for granted. So the media writing stupid shit? That’s child’s play. Shit, nothing is worse being locked up in the Special Treatment Unit.